New York

David Row

John Good Gallery

There’s a barely suppressed sensuousness in David Row’s paintings, even a sense of antic play. Beneath a surface that appears at first to be reductively geometric—with its broad curves and zigzags, painted in white on white or black on black—lurk fields of color, mostly reds and blues, that Row allows to peak through incisions scratched into the surface. Not that the layer of color is independent of the surface; often the underpainting is divided into red and blue, in the same way the surface image is divided into the curving and angular forms and the spaces between them. Row further complicates the formal play between illusionistic and actual space by working across several canvases, sometimes butted against each other, in other cases hung as much as a foot or two apart. Thus the figures of one canvas will carry over to the next, but not in a smooth, continuous motion; in other instances,

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